In Christian sacred art (Eastern and Western churches), holy persons (saints) are depicted with a halo, a golden, yellow or white circular glow, around the head.在基督教神聖的藝術（東歐和西歐教會） ，聖地的人（聖人） ，是描述一個光環，金色，黃色或白色的圓形發光，周圍的頭部。 It is sometimes called a nimbus as well.它有時被稱為靈氣一樣。
The halo appears in the art of ancient Greece and Rome, and was incorporated into Christian art sometime in the 4th century.哈洛看來，在藝術的古希臘和羅馬，並已被納入基督教藝術將在4世紀。 Round halos are used to signify saints.一輪光環，是用來標誌聖人。 A cross within a halo is used to represent Jesus Christ.兩岸在一個光環，是用來代表耶穌基督。 Triangular halos are used for representations of the Trinity.三角光環是用於交涉的三位一體。 Square halo are used to depict unusually saintly living personages.廣場上的光環被用來描繪異常聖潔的生活人士。
In popular piety, this practice has led to the belief that saints during their earthly life actually walked around with a halo around their head.在流行的虔誠，這種做法已導致認為聖人，在他們的俗世生活其實走到一起的光環圍繞其頭部。 Of the many wonderful stories about saints, some report that a saint was literally glowing.在眾多精彩的故事聖人，有報告說，聖人是字面上亮點。 This is called the aureole, a lemon-drop-shaped item that appears to radiate from the entire body of the holy being.這就是所謂的光環，一個檸檬滴形狀的物品這似乎是從輻射整個身體的聖地。 Finally, there is also "glory," a glowing effusion used to cover up depictions of genitalia.最後，還有一種"榮耀" ，煥發出積液用來掩蓋描寫的生殖器。
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The Halo, also called Nimbus, in art, is a radiant circle or disk surrounding the head of a holy person, a representation of spiritual character through the symbolism of light.最後一戰，也稱為靈氣，在藝術，是一個輻射圈或磁盤周邊率領一個神聖的人，一個代表性的精神品格，是通過象徵光明的。 In Hellenistic and Roman art the sun-god Helios and Roman emperors often appear with a crown of rays.在古希臘和古羅馬藝術的太陽神太陽神和古羅馬的皇帝，往往出現一個官方的射線。 Because of its pagan origin, the form was avoided in Early Christian art, but a simple circular nimbus was adopted by Christian emperors for their official portraits.因為它的異教的起源，形成，是避免在早期基督教藝術，但一個簡單的圓形靈氣通過基督教皇帝，為他們的官方肖像照。
From the middle of the 4th century, Christ was also shown with this imperial attribute, as was his symbol, the Lamb of God, from the end of the 4th century.來自中東的第四個世紀，耶穌也顯示出這個帝國屬性，因為是他的象徵，上帝的羔羊，從去年底的第四屆世紀。 In the 5th century it was sometimes given to angels, but it was not until the 6th century that the halo became customary for the Virgin Mary and other saints.在5世紀人們有時給天使，但直到6世紀這最後一戰成了習慣，為聖母瑪利亞和其他聖人。 For a period during the 5th century, living persons of eminence were depicted with a square nimbus.一個時期以來，在公元5世紀，生者322人描繪一個廣場靈氣。
The halo was used regularly in representations of Christ, the angels, and the saints throughout the Middle Ages.哈洛用定期在交涉的基督，天使，聖徒在整個中世紀。 Often Christ's halo is quartered by the lines of a cross or inscribed with three bands, interpreted to signify his position in the Trinity.往往是基督的最後一戰是駐紮由線交叉或刻有三個波段，解釋，以表明他的立場，在三一。 From the 15th century, however, with the growth of naturalism in Renaissance art, the nimbus created problems in representation.從15世紀，然而，隨著自然主義在文藝復興時期的藝術，靈氣造成問題的代表性。 At first it was treated by some Florentine artists as a solid object seen in perspective, a disk fixed to the back of a saint's head.首先，它是治療一些佛羅倫薩藝術家作為一個固體物體從整體的角度看，一個磁盤固定到後面的聖人的頭部。 The inadequacy of this solution led to its decline in Italian art in the 16th century and to its abandonment by Michelangelo and Titian.不足的這個解決辦法，導致其數量下降的，在意大利藝術早在十六世紀，並放棄由米開朗基羅和提香。 In Flemish painting of the 15th century, it began to be represented as rays of light; under the influence of the Counter-Reformation, which sought to restore a glorious conception to religious art, this form was adopted by Italian artists of the late 16th century, notably Tintoretto, as a realistically rendered light emanating from the holy person's head.在法蘭德斯繪畫的15世紀，它開始能夠派的光芒;的影響下，反改革，力圖恢復了光輝的構想，以宗教藝術，這種形式通過了意大利藝術家的16世紀末，特別是丁托列托（ Tintoretto ，作為一個現實，使輕源自聖地的人的頭部。 This new interpretation was the standard one in the Baroque period and in most subsequent religious works.這種新的解釋是標準之一，在巴洛克時期，而且在大多數隨後宗教作品。
The halo is also found in Buddhist art of India, appearing from the late 3rd century AD.哈洛是還發現，在佛教藝術的印度，出現由已故3世紀的廣告。 It is believed that the motif was brought to the East by Greek invaders.據認為，該題被帶到東希臘侵略者。
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(Latin, related to Nebula, nephele, properly vapour, cloud), in art and archaeology signifies a shining light implying great dignity. （拉丁語，與星雲，涅斐勒，妥善水汽，雲） ，在藝術和考古學標誌著一個光輝輕暗示偉大的尊嚴。 Closely related are the halo, glory, and aureole.密切相關的是光環，榮耀，光環。
Occasionally one even sees the planet Venus veiled by a disc of light.偶爾有人甚至認為，這個星球上金星微詞，一盤輕。 The phenomena of discs and broad rings are more usual in the sun and moon.該現象的光盤和廣闊的光環，更如常在太陽和月亮。 The Babylonians studied them diligently (Kugler, "Sternkunde und Sterndienst in Babel", II, 1).巴比倫人學習他們刻苦（庫格勒， " sternkunde und sterndienst在通天塔" ，第二章， 1 ） 。 The terminology of these phenomena is vague.術語這些現象是含糊不清。 The disc or circle around the sun can be correctly called "anthelia", and the ring around the moon "halo".圓盤或圓繞太陽運行，可以正確地稱為" anthelia " ，並響靠近月球的"光環" 。 A more usual name is "aureole", which in a restricted sense means an oval or elliptical ray of light like a medallion.更通常的名稱是"光環" ，即在一個受限制的意識，就是一個橢圓形或橢圓形光芒就像一個獎章。 If the brightness is merely a luminous glow without definitely forming ring, circle.如果亮度只是一個發光輝光無絕對形成環形，並圈。 or ellipse, it is usually spoken of as a "glory".或橢圓，它通常是口語的一種"榮耀" 。 The types in nature in which rays or beams of light with or without colour challenge attention, suggested the symbolical use of the nimbus to denote high dignity or power.種類性質，其中射線束或輕或無顏色的挑戰，注意，建議使用具有象徵意義的靈氣，以分別代表高尊嚴或權力。 It is thus that Divine characteristics and the loftiest types of humanity were denoted by the nimbus.因此，這是神的特點和最崇高類型的人類被記了靈氣。
The custom of the Egyptian and Syrian kings of having themselves represented with a rayed crown to indicate the status of demigods, spread throughout the East and the West.定制的埃及和敘利亞國王有自己的代表，以刺冠，以顯示地位demigods ，散佈在整個東方和西方。 In Rome the halo was first used only for deceased emperors as a sign of celestial bliss, but afterwards living rulers also were given the rayed crown, and after the third century, although not first by Constantine, the simple rayed nimbus.在羅馬的最後一戰是第一只用於死者皇帝視為一個跡象，天體極樂世界，但之後的生活統治者，也被賦予了刺冠，並在第三個世紀，雖然不是第一次，由君士坦丁，簡單的刺靈氣。 Under Constantine the rayed crown appears only in exceptional cases on the coin, and was first adopted emblematically by Julian the Apostate.根據君士坦丁的刺冠，似乎只有在特殊情況下，對金銀紀念幣，並首次通過emblematically由朱利安的叛教者。 Henceforth the nimbus appears without rays, as the emperors now wished themselves considered worthy of great honour, but no longer as divine beings.此後，靈氣似乎沒有光線，作為皇帝，現在希望自己認為是值得非常榮幸，但已不再是神。
In early Christian art, the rayed nimbus as well as the rayless disc were adopted in accordance with tradition.在早期基督教藝術，也刺靈氣以及為rayless光盤採用按照傳統。 The sun and the Phoenix received, as in pagan art, a wreath or a rayed crown, also the simple halo.太陽和鳳凰收到的，因為在異教徒的藝術，敬獻了花圈，或刺冠，也是簡單的光環。 The latter was reserved not only for emperors but for men of genius and personifications of all kinds, although both in ecclesiastical and profane art, this emblem was usually omitted in ideal figures.後者是預留不僅為皇帝，但男人的天才和擬人的種種，雖然無論是在教會和褻瀆藝術，這個會徽是通常省略理想的數字。 In other cases the influence of ancient art tradition must not be denied.在其他案件的影響，古老的藝術傳統，絕不能否認的。 The Middle Ages scarcely recognized such influence, and were satisfied to refer to the Bible as an example for wreath and crown or shield shaped discs as marks of honour to holy personages.中世紀時期幾乎沒有認識到這種影響力，並滿意指聖經作為範例來敬獻了花圈和官方或盾狀碟片作為商標的榮譽，進入神聖的人物。 Durandus writes: durandus寫道：
"Sic omnes sancti pinguntur coronati, quasi dicerunt. Filiae Jerusalem, venite et videte martyres cum coronis quibus coronavit eas Dominus. Et in Libro Sapientiae: Justi accipient regnum decoris et diadema speciei de manu Domini. Corona autem huiusmodi depingitur in forma scuti rotundi, quia sancti Dei protectione divina fruuntur, unde cantant gratulabundi: Domine ut scuto bonae voluntatis tuae coronasti nos" (Thus all the saints are depicted, crowned as if they would say: O Daughters of Jerusalem, come and see the martyrs with the crowns with which the Lord has crowned them. And in the Book of Wisdom: The Just shall receive a kingdom of glory, and a crown of beauty at the hands of the Lord, and a crown of this kind is shown in the form of a round shield. because they enjoy the divine protection of the Holy God, whence they sing rejoicing: O Lord, Thou hast crowned us with a shield of Thy goods-will.) (Rationale divin. offic., I, 3, 19, sq.). "碳化矽義務sancti pinguntur科羅納蒂，準dicerunt 。 filiae耶路撒冷， venite等videte martyres暨coronis quibus coronavit的EAS主。 ET的書sapientiae ： justi accipient regnum decoris等diadema speciei德馬努多米尼。電暈autem huiusmodi depingitur在形式上scuti rotundi ， quia sancti dei protectione divina fruuntur ， unde cantant gratulabundi ：主許超聲斯庫托bonae voluntatis tuae coronasti不" （因此所有的聖人是描繪，加冕，因為如果他們會說：噢，耶路撒冷的女子，來看看烈士與冠，其中耶和華加冕他們，而且在這本書的智慧：只應接受一個獨立王國的榮耀，並冠之美在手中的主，和一個官方的這種表現在形式的圓盾，因為他們的背後有著神聖的保護聖地神，何時，他們唱的大喜日子：主啊，祢加冕為我們做擋箭牌，你的貨物將） （理divin 。 offic 。來說，我和第3 ，第19 ，建築面積計） 。
Furthermore the Middle Ages are almost exclusively accredited with the extension of symbolism inasmuch as they traced, sometimes felicitously, allusions to Christian truths in existing symbols, of which they sought no other origin.此外中世紀幾乎完全認可與推廣的象徵意義，因為它們追查，有時felicitously ，典故，以基督信仰的真理，在現有的符號，其中，他們要求沒有其他產地。 Durandus adds to the passage quoted above, the nimbus containing a cross, usual in the figures of Christ, signifying redemption through the Cross, and the square nimbus which was occasionally combined with it in living persons, to typify the four cardinal virtues. durandus增加了通過引用上述情況，靈氣載有交叉，通常在數字基督的，以表揚他們贖回透過十字架上，廣場上靈氣這是偶然結合，它在生者，以典型地堅持四項基本原則，品德。 Judging by the principal monuments, however, the square nimbus appears to be only a variant of the round halo used to preserve a distinction and thus guard against placing living persons on a par with the saints.從主體紀念碑，不過，廣場上靈氣似乎是唯一的一個變種圓圓的光環用來維護區分，因此，防範，把生的人就等同於聖人。 The idea of the cardinal virtues, the firmness of a squared stone, or the imperfection of a square figure as contrasted with a round one was merely a later development.構思樞機美德，堅定性一平方石料，或美中不足的方形數字作為對比，具圓一只是後來的發展。 In the cross nimbus the association of the nimbus with an annexed cross must be conceded historical; but that this cross is a "signum Christi crucifixi" Durandus probably interprets correctly.在交叉靈氣協會的靈氣與所附兩岸必須作出讓步的歷史，但這次跨世紀的是一個" Signum的基督教crucifixi " durandus可能解釋為正確。
The nimbus of early Christian art manifests only in a few particular drawings, its relationship with that of late antiquity.該靈氣的早期基督教藝術艙單只在少數，特別是圖紙，其關係與晚期文物。 In the first half of the fourth century, Christ received a nimbus only when portrayed seated upon a throne or in an exalted and princely character, but it had already been used since Constantine, in pictures of the emperors, and was emblematic, not so much of divine as of human dignity and greatness.在上半年，四世紀時，基督教收到了靈氣，只有當描繪成入座後寶座，還是在開天闢地和princely性質，但它已被用於自君士坦丁，在拍照的皇帝，並象徵，而不是這麼多神聖的，作為人的尊嚴和偉大。 In other scenes however, Christ at that time was represented without this emblem.在其他場景，但基督當時的代表，沒有這個標誌。 The "exaltation" of Christ as indicated by the nimbus, refers to His dignity as a teacher and king rather than to His Godhead. "提升" ，以基督為中心表示，由靈氣，是指他的尊嚴，作為一個教師和景，而不是向他的神的源頭。 Before long the nimbus became a fixed symbol of Christ and later (in the fourth century), of an angel or a lamb when used as the type of Christ.不久之前的靈氣，成為一個固定的象徵基督後（四世紀） ，一個天使還是羔羊的時候，作為類型的喊聲。 The number of personages who were given a halo increased rapidly, until towards the end of the sixth century the use of symbols in the Christian Church became as general as it had formerly been in pagan art.有多少人士獲得的光環迅速增加，直到接近年底的第六屆世紀使用的符號，在基督教教會成了作為一般的，因為它以前在異教徒的藝術。
Miniature painting in its cycle represents all the most important personages with haloes, just as did the Virgil codex, so that the continuity of the secular and Christian styles is obvious.微型畫在其週期代表了所有最重要的人物，與暈的，就像當年維爾吉爾法典，使延續現行的世俗和基督教風格是顯而易見的。 This connection is definitively revealed when royal persons, eg, Herod, receive a nimbus.這一方面是明確顯示，當皇家的人，如被希律，收到一份靈氣。 Very soon the Blessed Virgin Mary always, and martyrs and saints usually, were crowned with a halo.很快有福了聖母瑪利亞一如既往地和烈士和聖徒一般情況下，被冠以與光環。 More rarely the beloved dead or some person conspicuous for his position or dignity were so honoured.更很少心愛的人死亡或一些人比較突出，為他的立場或尊嚴被如此榮幸。 Saints were so represented if they constituted the central figure or needed to be distinguished from the surrounding personages.聖人者，使代表，如果他們構成了核心人物或需要加以區別，從周邊人士。 The nimbus was used arbitrarily in personification, Gospel types, and the like.該靈氣被強制使用中的人格化，福音類型等。 Official representations clearly show a fixed system, but outside of these there was great variety.官方交涉清楚地顯示一個固定的制度，但外界對這些有很大的不同。 Works of art may be distinctly differentiated according to their birthplace.藝術作品的，可明顯區別根據自己的出生地。 The nimbus in the Orient seems to has e been in general use at an early period, but whether it was first adopted from ecclesiastical art is uncertain.該靈氣在世界的東方，似乎已e被普遍使用在較早的時期，但無論是先通過由教會藝術是不確定的。 In general the customs of the East and West are parallel; for instance, in the West the personifications appear with a nimbus as early as the third century and Christ enthroned no later than in the East (in the time of Constantine).在一般的習俗，東，西平行;例如，在西方擬人，似乎與靈氣，因為早在公元三世紀和基督enthroned在不晚於東（在當時的君士坦丁） 。 Their nature makes it apparent that in every department of plastic art the nimbus is more rarely used than in painting.其性質使得它明顯地在每一個部門的造型藝術了靈氣，更很少使用超過繪畫。
In early Christian times (as now) the round nimbus was by far the most usual designation of Christ and the saints.在早期基督教時代（現在）輪靈氣，是目前為止最通常指定的基督聖徒。 The broad circle is often replaced by the ring of light or a coloured disc, especially on fabrics and miniatures.廣大圈往往取代環輕或彩色光盤，特別是對面料和微縮模型。 In pictures without colour the nimbus is shown by an engraved line or a raised circlet, often by a disc in relief.在照片色彩的靈氣，是表現出一個刻有線路或一個提出circlet ，往往由一個圓盤，在紓緩作用。 In the aureole blue indicates celestial glory, and it is used in the nimbus to fill in the surface, as are yellow, gray, and other colours while the margins are sharply defined in different tints.在光環藍色顯示天體的榮耀，它是用來在靈氣，以填補在表面上，為黃色，灰色，及其他顏色，而利潤率大幅劃分為不同的色彩。 In many haloes the inner part is white.在許多暈的黨內部分是白色。 In mosaics, since the fifth and sixth centuries, blue has been replaced by gold.在馬賽克，因為第五和第六個世紀，藍色已取代黃金。 From this period also, the frescoes show a corresponding yellow as seen for instance in paintings in the catacombs.從這個時期，同時，壁畫，表現出相應的黃色看比如在畫窟。 Gold or yellow prevails in miniatures, but there is a great deal of variety in illustrated books.金黃色或白色普遍存在的微縮模型，但有一個很大的不同，在說明了書籍。 Blue as a symbol of heaven has the preference, but gold, which later became the rule, gives a more obvious impression of light.藍色象徵著天上有偏好，但黃金，後來成為統治，給人更加突出的印象輕。
The explanation of the cross nimbus variety is obvious.解釋交叉靈氣品種是顯而易見的。 Since the sixth century it has characterized Christ and the Lamb of God, but occasionally it is given to the other Persons of the Trinity.自六世紀它的特點是基督和上帝的羔羊，但偶爾，它是給其他人的三位一體。 In connection with it, in the fourth and fifth centuries there was a monogram nimbus.涉嫌有了它，在第四和第五個世紀有一個會標靈氣。 The cross and the monogram of Christ were beside or above the head of Christ and the Lamb.兩岸及會標基督的人的旁邊或以上的首長，基督和羔羊。 In the fifth century they were brought to the upper edge of the nimbus and finally both were concentrically combined with it.在第五世紀，他們被帶到上邊緣的靈氣，最後都集中結合。 In more recent times the monogram and the monogram nimbus have become more rare.在最近的時候，會標和會標靈氣變得更罕見。 The letters Alpha and Omega for Christ and M and A for Mary, were intended for monograms and frequently accompanied the nimbus.信訪Alpha和歐米茄為基督和M一為瑪麗，打算用於monograms ，而且經常伴隨著靈氣。
On the other hand, several pictures of Christ in the catacombs, dating from the fourth century, indicate the period when the nimbus was first used in the way familiar to us.在另一方面，一些照片的基督在地窟，建於四世紀時，應註明期時，靈氣是第一次使用的方式，我們熟悉的。 Besides the Roman catacombs others, especially that of El Baghaouat in the great Oasis of the Libyan desert, must be taken into account.除了羅馬窟裡其他人，特別是薩爾瓦多baghaouat在大綠洲的利比亞沙漠，都必須加以考慮。 For the period succeeding Constantine, mosaics furnish important evidence since they present not only very numerous and usually definite examples of the nimbus, but have a more official character and give intelligent portrayals of religious axioms.這一期間的接替君士坦丁，馬賽克提供重要的證據，因為它們目前不但非常多，而且通常是明確的例子了靈氣，但有更多的官方性質，並給予智能描繪宗教公理。 Although allowance must be made for later restorations a constant development is apparent in this field.雖然津貼必須為後來修復不斷發展顯然，在這一領域的合作。 The treatment of the nimbus, in the illuminating and illustrating of books, was influenced by the caprices of the individual artist and the tradition of different schools.治療的靈氣，在照明及說明的書籍，是受首隨想曲的個人藝術家和傳統不同的學校。 In textiles and embroidery the most extensive use was made of the nimbus, and a rich colour scheme was developed, to which these technical arts are by nature adapted.在紡織和刺繡最廣泛使用了該靈氣，和豐富的色彩計劃是發達國家，而這些技術性的藝術是從本質上適應。 Unfortunately the examples which have been preserved are only imperfectly known and the dates are often difficult to determine.不幸的例子，其中有保存下來，是唯一不完美的已知和日期，往往難以確定。
Sculpture presents little opportunity for the use of the nimbus.雕塑呈現鮮有機會使用的靈氣。 In some few instances, indeed, the nimbus is painted on ivory or wood carvings but more often we find it engraved or raised in relief.在一些少數情況下，的確，靈氣，是髹上象牙或木雕，但更常常我們覺得這是刻在或所提出的紓緩作用。 Figures with this emblem are rare.數字與這個會徽是罕見的。 On the sarcophagi we find that Christ and the Lamb (apart from the sun) alone appear with a circle or disc, the Apostles and Mary, never.對石棺我們發現基督和羔羊（除太陽） ，僅出現一個圓形或影碟，使徒和瑪麗，從來沒有。 In ivory neither Mary nor Christ is so distinguished.在象牙既不瑪麗，也就是基督如此傑出。 In the course of centuries the Christian idea that God, according to Holy Scripture the Source of Light and Divine things, must always be given a halo.在這個過程中的幾個世紀，基督教主張上帝，按聖經的來源輕型和神聖的事情，都必須始終給予的光環。 became more pronounced.也變得更為突出。 This applied to the three Divine Persons and their emblems, as the Cross, Lamb, Dove, Eye, and Hand; and since, according to Scripture, saints are children of Light (Luke, xvi, 8; John, xii, 36), as such they should share the honour.這適用於三大神聖者和他們的標誌，因為在十字架上，羊肉，鴿子，眼睛和手;以來，根據聖經，聖人是兒童輕（路加福音十六， 8 ;約翰， 12 ， 36 ） ，因此，他們應該分享榮譽。
Preference was shown for the garland or crown (corona et gloriae corona) of Christ which was also bestowed by God as a reward upon the saints, either spiritually in this life or in the Kingdom of Heaven (Ps. xx, 4; Heb., ii, 7 sq.).偏好表現為加蘭或皇冠（電暈等gloriae電暈）的基督這也是賜予的，上帝作為獎勵後，聖人，無論在精神上，在此生活，或在天國（雅歌XX條， 4條;以弗所書，二， 7平方米） 。 Garlands and crowns of glory are frequently mentioned in the Bible (I Peter v, 4; Apoc., iv, 4, etc.).花環冠的榮耀，是經常提到的在聖經（彼得五，四;載脂蛋白C ，四，四，等等） 。 The nimbus also takes the form of a shield to emphasize the idea of Divine protection (Ps. v, 13).該靈氣的另一種形式的擋箭牌，強調理念的保護神（詩篇五， 13 ） 。 A truly classic authority for the explanation of the nimbus may be found in Wis., v, 17: the Just shall "receive a kingdom of glory, and a crown of beauty at the hands of the Lord: for with His right hand He will cover them, and with His holy arm He will defend them."真正的經典機關為解釋的靈氣，可發現在威斯康辛州，五， 17 ：剛剛應"接受一個獨立王國的榮耀，並冠之美在手中主：與他的右手，他將掩護他們，並與他的神聖的手臂，他將捍衛他們的" 。 (In Greek, "Holds the shield over them".) （希臘文" ，持盾牌的超過他們" 。 ）
Whereas in pagan art, the rayless nimbus signified neither holiness nor Divine protection but merely majesty and power, in Christian art it was more and more definitely made the emblem of such virtue and grace, which emanating from God, extends over the saints only.而在異教藝術，也rayless靈氣標誌著既不聖潔，也沒有神的保護，而僅僅是陛下和力量，在基督教藝術，它被越來越多的絕對標誌，這種美德和風度，其中來自上帝，並延伸過聖人只。 Urban VIII formally prohibited giving the nimbus to persons who were not beatified.市區八正式禁止給予靈氣來的人不是真福。 Since the eighteenth century the word "halo" has been incorporated into the German language.自十八世紀以來，這個詞的"光環" ，已被納入德國的語言。 In Western countries John the Baptist is the only saint of the Old Testament who is given a halo, doubtless because before his time the grace of Christ had not yet been bestowed in its fullness.在西方國家，施洗約翰是唯一的守護神舊約的人是一個光環，毫無疑問，因為在此之前，他的恩典基督尚未賜予的，在它的豐滿。
We have already found that the aureole was be considered exclusively a device of Christian art, especially as it was reserved at first for the Divinity, and later extended only to the Blessed Virgin.我們已經找到了這光環被視為純粹是一個裝置的基督教藝術，特別是因為它是在保留第一，為神了，後來延長了，只是向小聖。 Instead of simple beams it often consists of pointed flames or is shaded off into the colours of the rainbow.而不是簡單的光束，它常常構成指出著火燃燒或者是綠蔭起飛到顏色的彩虹。 This form as well as the simple nimbus, by the omission of the circumference, may be transposed into a garland of rays or a glory.這種形式以及簡單的靈氣，所遺漏的周長，可被轉變為花環的射線或榮耀。 A glory imitating the sun's rays was very popular for the monstrances, in other respects the lunula suggests the nimbus only because the costliness of the material enhances the lustre. 1榮耀模仿太陽的光線是很受歡迎，為monstrances ，在其他方面， lunula暗示靈氣，只是因為costliness的材料提高了光澤。 The aureole obtained the Italian name of mandorla from its almond shape.該光環得到了意大利的名字mandorla從其杏仁形。
In Germany the fish was agreed upon for the symbol of Christ, or a fish bladder if it had the shape of a figure 8.在德國魚議定為象徵基督的，或者是一條魚膀胱如果它有形狀的一個數字8 。 God the Father is typified in later pictures by an equilateral triangle, or two interlaced triangles, also by a hexagon to suggest the Trinity.上帝的父親是典型的，在後來的照片是由一個等邊三角形，兩個三角形的交織中，還必須採取一種六邊形建議三一。 If there is no circle around the cross nimbus, the three visible arms of the cross give the same effect.如果沒有繞過跨靈氣，三有形武器的交叉給予相同的法律效力。 Occasionally the mandorla is found composed of seven doves (type of the Seven Gifts of the Holy Ghost), or of angels.偶爾mandorla發現組成七個鴿（類型的七個禮物的聖靈） ，或天使。 The latter are used in large pictures of the Last Judgment or heaven, for instance in the "glories" of Italian domes.後者則是用於在大型照片上的判斷或天堂，例如在"輝煌"的意大利語穹頂。 In painting, haloes of cloud are sometimes used for delicate angel heads, as in Raphael's works.在繪畫，暈雲，有時被用來為微妙天使元首，在拉斐爾的作品。 Angels also form a nimbus around the head of the Mother of God.天使也形成一個靈氣靠近頭部的天主之母。 She is also given the twelve stars of Apoc., xii, 1.她亦是鑑於十二顆星的載脂蛋白C ，十二， 1 。 Saint John Nepomucene has five or seven stars because of the great light which hovered over his body when he was drowned in the Moldau by order of King Wenceslaus.聖約翰內波米塞娜有5年或7顆星，因為偉大的燈光，盤旋而他的屍體時，他被淹死在moldau以命令的國王wenceslaus 。
Artists have developed many varieties of the nimbus and aureole.藝術家，曾開發了許多品種的靈氣和光環。 Since the Renaissance it has been fashioned more and more lightly and delicately and sometimes entirely omitted, as the artists thought they could suggest the characteristics of the personage by the painting.自文藝復興時代已經過時，越來越多輕率和微妙，有時甚至完全省略，因為藝術家以為他們可以建議的特點，人物所畫。 It is true that the nimbus is not intrinsically a part of the figure and at times even appears heavy and intrusive.這是事實的靈氣，是不是有內在的一部分，這個數字有時甚至顯得沉重和侵擾。 A distinguishing symbol may not, however, be readily dispensed with and with the omission of this one the images of the saints have often degenerated into mere genre pictures and worldly types.一個區分的標誌，可能，但不能輕易放棄不用，並與遺漏的這一個形象的聖人往往墮落成僅僅是體裁的圖片和世俗化類型。 A delicate circlet of light shining or floating over the head does not lessen the artistic impression, and even if the character of Christ or the Madonna is sufficiently indicated in the drawing, yet it must be conceded that the nimbus, like a crown, not only characterizes and differentiates a figure but distinguishes and exalts it as well.一個微妙的circlet輕閃爍或浮動超過頭部不減少的藝術印象，而即使性格基督或瑪丹娜足以表明，在繪畫，但又必須承認，靈氣，像一個皇冠，而不是只特點和區別一個數字，但區別於和exalts它當作好。
G
Gietmann克gietmann
Transcribed by Michael C.
Tinkler轉錄由Michael長tinkler
The Catholic Encyclopedia, Volume
XI天主教百科全書，體積喜
Nihil Obstat, February 1, 1911.
nihil obstat ， 1911年2月1日。 Remy Lafort, STD, Censor
Imprimatur.人頭馬lafort ，性病，檢查員imprimatur 。 +John Cardinal Farley, Archbishop of
New York +約翰farley樞機主教，大主教紐約
This subject presentation in the original English language這一主題演講，在原有的英語
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